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20 quick and easy tips that will improve your productions (part 2)

20 quick and easy tips that will improve your productions (part 2)

You can read the first 20 quick and easy tips that will improve your productions here!

Quick tip 21

Try automating the master fader 1 or 2 decibels in the chorus to add excitement.

https://www.instagram.com/p/Bjc8ED6gNKw/?taken-by=audio_hertz

Quick tip 22

Decide what takes you like and makes comps right away. Don’t leave important decisions for later!

https://www.instagram.com/p/BjnTpaDgKWa/?taken-by=audio_hertz

Quick tip 23

Treat music like a job, even if it’s not your job!

https://www.instagram.com/p/Bj77NU0APCz/?taken-by=audio_hertz

Quick tip 24

Make a template and constantly keep refining it.

https://www.instagram.com/p/Bj-a2oLgdv8/?taken-by=audio_hertz

Quick tip 25

If you want your chorus to sound big, don’t make it bigger make what comes before it smaller.

https://www.instagram.com/p/BkBMYWFAL3v/?taken-by=audio_hertz

Quick tip 26

Separate the times you focus on sound design and sample organization from your actual production sessions.

https://www.instagram.com/p/BkQX3MtAUoH/?taken-by=audio_hertz

Quick tip 27

Practice shortcuts and hotkeys! Your DAW is an instrument, treat it like one. Learning all of the hotkeys will drastically speed up your workflow.

https://www.instagram.com/p/BkS-ThPgkbf/?taken-by=audio_hertz

Quick tip 28

Put each vocal section on its own track (lead verse, lead chorus, lead bridge) and send to a vocal bus. This makes it easy to change processing for the vocal between sections.

https://www.instagram.com/p/Bkf0YEKARxM/?taken-by=audio_hertz

Quick tip 29

Don’t bounce and repeatedly listen to songs you are still working on. If you repeatably listen to a work in progress your brain will start to get used to it and it will become more difficult to make changes or add new tracks later.

https://www.instagram.com/p/Bkkxse4gKEz/?taken-by=audio_hertz

Quick tip 30

Try adding chorus before a reverb to help widen and give movement to your return.

https://www.instagram.com/p/BkvO0EAg7Am/?taken-by=audio_hertz

Quick tip 31

Avoid loopitis by following the structure of a reference track.

https://www.instagram.com/p/BlLwHxqgruF/?taken-by=audio_hertz

Quick tip 32

CONTRAST! CONTRAST! CONTRAST! Stereo sounds the best when there’s contrast. For the widest sound, make sure what is playing in the left speaker is different than what’s playing in the right.

https://www.instagram.com/p/BlTfNAogGrX/?taken-by=audio_hertz

Quick tip 33

ADD SOME AIR! For bright and shiny pop vocals make sure to add some “air” or frequencies over 14kHz.

https://www.instagram.com/p/Blf9dhQADRe/?taken-by=audio_hertz

Quick tip 34

Submix similar sounds and parts prior to mixing so things stay organized and you can easily process multiple tracks at once.

https://www.instagram.com/p/BllogchA9ES/?taken-by=audio_hertz

Quick tip 35

De-essing vocals allows you to get rid of harsh sibilance while maintaining clarity. I like to use one in the beginning of my vocal chain to make sure I get rid of anything before it’s compressed or equalized.

https://www.instagram.com/p/Bl3Y33IgWRa/?taken-by=audio_hertz

Quick tip 36

Small amounts of compression on multiple channels can really add up and help glue things together.

https://www.instagram.com/p/BmEPEKrALW4/?taken-by=audio_hertz

Quick tip 37

Don’t set it and forget it! Those faders need to move! Performing volume automation will give your mixes life and make you a lot cooler.

https://www.instagram.com/p/BmJbyumg6Vr/?taken-by=audio_hertz

Quick tip 38

If a reverb isn’t working on a vocal, try a short delay. It can give you the sense of space you need without cluttering things up.

https://www.instagram.com/p/BmO7H5rgYGz/?taken-by=audio_hertz

Quick tip 39

Modern digital recordings pick up transients very cleanly. Add saturation before compression to help tame some of those sharp transient peaks so your compressor will not have to work as hard.

https://www.instagram.com/p/BmRcXF-gOmM/?taken-by=audio_hertz

Quick tip 40

Clean up that low end! Use plenty of hi pass filters on instruments that don’t have fundamental bass frequencies to get a tight and punchy low end.

https://www.instagram.com/p/BmUwOSSAWLc/?taken-by=audio_hertz

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5 of the rarest and most unique synths ever made

5 of the rarest and most unique synths ever made

Disclosure: Audio Hertz is supported by its audience. When you purchase through links on our site, we may earn an affiliate commission.


The following five rare and unique synthesizers weren’t very popular, but their scarcity and uniqueness make them even more valuable today. Being a newly, self-declared synth geek, I’m enjoying the process of learning a new instrument. It’s nice to know there is even more money to spend on audio gear than I had previously thought.

We’ve all heard of Junos, Prophets, Arps and DX7s but what about the synthesizers that weren’t as popular? I think it’s fascinating to think about the smaller run projects and how they were all at one point the culmination of someone’s imagination.

Unfortunately, not all synths had as much widespread appeal as some of the industry staples I mentioned earlier. There are many reasons a synthesizer might not do well commercially, whether it be faulty components, a bad user interface, or just failed marketing efforts from the company, most of the time it has nothing to do with the actual sound of the instrument.

Wersi EX20

Wersei EX20

Wersei is a German digital organ maker who is still in business today. They were one of the first Organ manufactures to embrace digital technology. After ten years of producing Organs, they decided to try their hand at synthesizers and entered the market with the EX20 module, a digital 20 note polyphonic synth. The sounds from this synth are based on an arrangement of modules such as wave, pitch-envelope, amplitude envelopes and analog effects to produce fourier, waveform sample, and modular synthesis.

There’s also an EX-10 model that looks similar and uses cartridges; however, the cartridges are not cross compatible and are extremely difficult to find. Owners and users of this unit say they are incredibly challenging to program and nearly impossible without the manual which is entirely in German.

Wersei made some other unique synths that are just as rare including the Bass Synthesizer and the Stage Performer Mk1.

Wersei Bass Synth
Wersei Bass Synth

In this interview with talented synth programmer Wolfram Franke of Waldorf Synthesizers, he talks about the ES20 and some of the unique features.

When asked about what synth started his journey into programming his own, he directly mentions the ES-20 from Wersei,

“It’s from the German organ company Wersi and it is called MK1 (Series III). It was a 20 voice, 8 part multitimbral additive synth with up to 32 harmonics, an integrated chorus/ensemble effect, and only one VCF, but that one was a copy of the Moog 24dB VCF plus a good-sounding overdrive.

It had a lot of very interesting features that you won’t find in any other synth like modular envelopes with 8 stages where each stage could hold a module that did something like generating random steps, vibrato, linear or exponential ramps or simply holding the level for a certain time.

If you ask why we didn’t put something like this into our Waldorf synths, I can easily answer that I was probably the only person outside of Wersi who could program this thing!”

Beilfuss Step Synth

This synth is part folklore, part reality. There are videos of it so it must exist, but mentions of this on the internet go back to 1996 and others have claimed to have seen advertisements in Keyboard Magazine even years before that. The company has self-declared this unit as “the first ever Step Synthesizer,”

The first unique thing that sticks out about this synth is its 93 keys which are just two 4-octave synths connected.

The Beilfuss Step Synth was developed by Keith Williams who also goes over the instrument in depth in this video posted to YouTube in 2011,

Using the way back machine, I was able to find the now-defunct single page Beilfuss website which gives some more info on the synth,

“Unlike any analog or digital synthesizer’s controls, the patented tone control consists of sixteen steps simply outlining the waveform as set by the Signal Controls you see at the left of the control panel. Similarly, the envelope and filter contour transients and their time intervals are also set by the Signal Controls for rhythms or extended notes. You may easily add prompted, parallel voicings, combining settings of both sides for complex notes.

There are 32 controls and 142 switches for direct programming. Dedicated LED switches always read out their side of the full eight octaves, split keyboard. Five octaves of transposition is possible.”

ASI Synthia

ASI Synthia
Early promotional material for an ASI Synthia

Synthia was a very rare “all in one” high-end synthesizer released in 1982 by Adaptive Systems, Inc. These units started at 20,000 which may be why there aren’t many people that have ever seen, let alone played a working one. There aren’t even any sound clips or video demos posted online anywhere.  I wish there were videos or recordings of this one so I could verify this claim, but I guess I’ll just need to use my imagination.

These premiered in the form of two prototypes at the 1982 NAMM show. The prototypes did not sell and soon after manufacturing ceased. The synthesizers are currently not functioning and sitting in the basement of the inventor, Mark E. Faulhaber.

One unique feature that would warrant the incredibly high price tag was the touch responsive plasma screen which at the time was very new technology but is now seen in just about every modern all in one keyboard.

The plasma screen followed the user’s finger which could be used to adjust bar graphs that controlled the different adjustable parameters on the synth like harmonic content, envelope parameters, controller assignments and more.

Most of the information on this synthesizer is from the book Vintage Synthesizers by Mark Vail.

Hammond NovachordHammond Novachord

The Novacord is considered to be the godfather of the modern polyphonic synthesizer. The Hammond company debuted the instrument at the 1939 World’s Fair only four years after the invention of the tonewheel organ. These synths included many features that are now standard in polyphonic synthesizers, like the use of subtractive synthesis.

This behemoth of an instrument was truly a marvel including more than 150 vacuum tubes, over 1,000 custom-made capacitors, two 12” speakers and a power amp. Everything was housed beautifully in a wood cabinet similar to that of the more popular B3.

The Hammond team found a way to derive a full keyboard from just 12 tuned chromatic oscillators. They accomplished this by using a divide-down architecture which became standard in later synthesizers. This principle gives the Novachord its 72 notes of polyphony

Due to the demands of World War II and the lack of sales and parts, c production of Novachords ceased in 1942.  One of the reasons it did not translate well during the time was organists and pianist had a hard time playing it as it was better at making more ethereal sounds rather than recreating the more familiar sounds of a piano or organ.

An estimated 200 Novachords are still in existence and even less are operational.

Ensoniq Fizmo

Ensoniq Fizmo

Ensoniq was an American synthesizer and sampler manufacture that was founded in 1983 and eventually acquired and merged with E-Mu and eventually discontinued entirely in 2002.  One of their more unique synthesizer released by the company was the Fizmo. Developed in 1998, the synth uses a “digital acoustic simulation Transwave with 4 MB of ROM, up to 4 voices per preset, each voice with two oscillators, independent LFOs and FX: 48 voices maximum, with three separate FX units built in. “

The name F-I-Z-M-O comes from the five real-time control knobs on the unit, “F” adjusted the effect modulation, “I” adjusted wave modulation, “Z” adjusted filter cutoff, “M” adjusted the detuning, and the “O” parameter changed based on the preset.

Problems with the synth that lead to its demise were the unfinished operating system, clunky user interface, and issues with the power supply. Another problem was the look of the unit made people think it was similar to the other analog synthesizer of the period, but it was challenging to create classic “analog” sounds. The Fizmo was mainly known for its atmospheric and ethereal sounds.

500-2,000 of these synthesizers were estimated to have been produced.

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